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1. Design Principles---3-2.Abstract Textures

P11 - 00:01?

?As I said in my previous lecture. what we will do is trying to through out this course we will be learning a lot of tools and fundamentals. But also I will be always forcing you to use methods that will allow you to stay less technical. The more creative. So everything that I will try to offer you, it will be quite simple, to be honest.?

P11 - 00:28少創(chuàng)造技術(shù)非常簡單的。?

And you will see in a minute what I mean. So for example, what is the best way to put some like ideas together.?

P11 - 00:42最好的組織思維的方式。?

And as I showed you in my previous so lesson. It's just to start scribbling. when you scribble, you start seeing things,?

P11 - 00:53開頭繪制的潦草。?

What is this? You never know. But once you do some adjustments, your brain will immediately reacted. For example, in the previous one, I showed you how to create like characters out out of this abstraction.?

P11 - 01:09繪制抽象概念。?

But now I will be showing you how actually your brain will completely react differently to a very simple manipulation.?

P11 - 01:22視覺化的圖像打印在畫布上。?

For example, if we take this abstract blog and just stretch it. And then because the brain, it knows what perspective is. It will start seeing different things, and your brain will react. that's actually the plane.?

P11 - 01:37扭曲拉伸看起來像是平面。?

It is the plane because you see the spacing. And this is where you use your design elements.?

P11 - 01:46看到空間和設(shè)計(jì)元素。?

You see the spacing and you see how these pixels that I really like just stretch pixels. ?

P11 - 01:52拉伸像素。?

They are vanishing towards vanishing point, they becoming smaller and smaller. And then you brain says, that's actually the plane.?

P11 - 02:03消失點(diǎn)越來越小。?

For example. Let's duplicate this guy and agreed another plane. And your brain immediately says, there is another plane.?

P11 - 02:20視覺化另一個(gè)平地。?

So you see, instead of constructing a complete street saying like precise perspective, like okay, that's the perspective with the lines.?

P11 - 02:30繪制視角線。?

And then starting painting. We're just using simple photoshop tools to create an abstraction method. ?

P11 - 02:37簡單的工具創(chuàng)建抽象方法。?

because our brain knows how perspective looks like. And you just need to put something to get the scale right. from somehow beat the surface isn't the scale of like an insect, or it is a big scale.?

P11 - 02:58表面節(jié)奏是個(gè)大尺寸。?

And it's up to you. Like, for example, if you start putting, there was a guy walking there. They got a guy working there. And now you can say that how big this place is.?

P11 - 03:16人物小的，背景宏大的。?

And it's actually pretty big, And then you put some other indicators like just to win for south like where is the horizon? And you just put, like, for example, the horizon line over there. ?

P11 - 03:36放置天際線。?

For example. And then your question would be what the lighting looks like. And because this is so abstract, that's why it's very powerful. There are so many ways you can put your shading Information. There is nothing specific.?

P11 - 03:55放置陰影信息，沒什么特殊的。?

Like, for example, at some point I will be showing you the photo bashing. And I will be explaining that photo bashing is great. But it's also very challenging. Because once you put the photo, like what's your copy paste? It can easily take like a surface of the moon or whatever. And copy and just place it over here. But the problem with that one, because everything is so clear, your brain reacts immediately. He knows what the scale is. Your brain knows what the lighting is.?

P11 - 04:27照片拼接知道大小和燈光的。?

But with this one, it's so abstract. And that's why it makes it so powerful. Because there are so many ways you can actually there is no lighting Information.?

P11 - 04:36沒有燈光信息。?

It's all about you. It’s up to you how to actually put your shading like for example, you can start. maybe this was a hill that probably there would be a big shadow.?

P11 - 04:50比如山有陰影的。?

And as a storyteller like I will be explaining q. Of all the design, I explain you all the design elements that you used to tell your stories.?

P11 - 05:03所有設(shè)計(jì)元素講述故事。?

And for example, you want to create some kind of motion inside this frame.?

P11 - 05:10創(chuàng)建框架內(nèi)的動(dòng)畫。?

And I will cover these topics in my composition lesson next, which is the next one. But for example, I know and I want to create some kind of zigzag motion inside this break.?

P11 - 05:19裂隙內(nèi)創(chuàng)建之字形的羊腸路。?

So I will be using the shadow to do it. Let's say that guy was dropping some shadow.?

P11 - 05:29繪制陰影。?

Once again, let's put big stroke. because these guys are so thin that you can see the straight see this guy right away.?

P11 - 05:54拉伸背景，角色陰影凸顯出來。?

And then you basically can read it quickly, completely changed Is this light. You never know. You can make a dark kind of horizon like this.?

P11 - 06:11可以繪制暗色的水平線。?

And because it's not like a precise light, it's more like a a graphic design that you are dealing with.?

P11 - 06:18像是圖片平面設(shè)計(jì)。?

So that's why, once again, the simpler the better. And because there is no light, no defined forms.?

P11 - 06:28沒光沒定義的形式，?

So easy for me to change the ideas and stories and just by having similar elements, just in a matter of minutes, you can create different compositions, different stories, depending on what your shadow is.?

P11 - 06:45不同的陰影不同的合成。?

The story could change completely. It could go from a day light to night light. So and it's all started by me just simply painting a simple block like this, which is a very abstract thing.?

P11 - 06:59粗重的線條抽象繪制。?

Let's try another like I use this brush, but let's just pick some random brush. For example, this guy. Do it again.?

P11 - 07:13繪制平面拉伸。?

It's the same result, but? It's a completely different surface.?

P11 - 07:21同樣的結(jié)果，完全不同的表面。?

Try another brush. How about this one? That's also a different surface.?

P11 - 07:40嘗試另一個(gè)刷子，不同的平面。?

You can tell it's more like it stony surface wild. These guys is a bit different with some horizontal lines.?

P11 - 07:51和石頭表面的水平線不同。?

And actually when you look around, there are so many abstract things around you.?

P11 - 07:57圍繞抽象的線條。?

Like stone texture. You don't need to paint a texture in the stone texture in order to make it look like a stone.?

P11 - 08:10沒必要為了像石頭材質(zhì)繪制石頭。?

You just made those suggestions because once again we will be thinking about more global picture about like big ideas.?

P11 - 08:19全局的照片。?

Instead of spending our time refining his small stone in the left corner of your composition, that's why we will use abstraction to form those ideas. And then if we need to take it to another level, then we will start to define new things and stuff like that.?

P11 - 08:34省去雕琢小石頭時(shí)間。?

So now I will show you really quick absent method to create textures as well.?

P11 - 08:44這也是創(chuàng)建材質(zhì)的方式。?

So for example, let's pick up simple airbrush, let’s pick it up like this. It doesn't make sense.?

P11 - 08:59用氣槍來繪制。?

What is this? And it's very simple, anybody can do this one. Once again. First thing we can do, we can distort this thing. And now you start seeing. now there is something happening almost like the previous examples. Like you can see the distortion. And you can say, this is something going and vanishing towards vanishing point.?

P11 - 09:21這是朝著消失點(diǎn)的。?

But there is a simple thing that you can do that will completely change the way you perceive the way your brain reacts to this one. And if you double click on layers are on a layer. And there is this filter called bever and numbers.?

P11 - 09:38雙擊圖層打開屬性。?

what I used to be a graphic designer? I would punish my design as if they use this panel over here, 90 style drop shadows and stuff like that.?

P11 - 09:49用移動(dòng)面板投射陰影。?

But these days I apologized. I think this is a very powerful menu. If you know what you’re doing. So yeah, basically, let's activate the bevel numbers and just change the depth.?

P11 - 10:06改變斜角數(shù)目和深度。?

Now we create lighting. You can see it. And with this lighting, you can control how you light. hit the surface. And then you can change the size. And also like you can create so many different surfaces which already have lighting.?

P11 - 10:29燈光調(diào)節(jié)可以改變大小和表面。?

It's not real lighting. It's kind of fake. But it's perfect for what we need. For example, let's just copy this guy and distorted.?

P11 - 10:44復(fù)制 扭曲圖層。?

you can see forms. It could be like a sand texture or something like that. Let's make it a little bit more complicated, though. Change it.?

P11 - 11:00沙子材質(zhì)，變得更復(fù)雜。?

For example, smooth creates like smooth areas. Sometimes it's good to have smooth, but let's try chisel soft.?

P11 - 11:12嘗試平滑 鑿軟。?

Now this is something what we want. Small texture. I can still twist the lighting.?

P11 - 11:25嘗試調(diào)節(jié)燈光。?

Let's try this one. Looks very, very cool, because it gives you this really nice texture. But plus it suggests a little bit what the lighting is. ?

P11 - 11:51非常好的材質(zhì)，像是打上燈感覺。 ?

So the light is coming from somewhere. because we this is a very pixel sensitive, In fact, we probably won't need to recycle canvas.?

P11 - 12:08重新循環(huán) 畫布。?

Just try it again. So we actually. And because you already have the effect on all you need is to just paint.?

P11 - 12:25只需要在蒙版繪制。?

Let's just play with it a little bit more. That's really cool. It's almost like I'm painting sand or something like this. ?

P11 - 12:47就像是繪制沙土一樣。?

Now let's copy this and distort and see how it looks like.?

P11 - 13:06復(fù)制扭曲看看像什么。?

And all this small guys is like actually, this is not a shadow, but it looks like a heel,?

P11 - 13:19看起來不是陰影像是高跟鞋。?

What's the scale of this object? I don't know. It could be really small or you never know. You need to put some some kind of scale, something to indicate the scale.?

P11 - 13:34需要一些增大的。?

Like for example, let's see. I can put the rover over here, And then put a shadow. And then it's up to you. you can resize it to make and your brain will thing. Oh my god! It's huge. Do instead of being a small or you put something different than this becomes as the ground. Like you can start putting rocks like, let's say there was a rock over here. Dropping the shadow. ?

P11 - 14:25繪制探測器或巖石。?

And now it's almost like you're looking down at the ground. It could be like Sandy surface.?

P11 - 14:49地面上看，沙子材質(zhì)。?

And it's very, very quick. It's very abstract, but very powerful. So let me do a couple of more examples.?

P11 - 14:57很抽象。舉幾個(gè)例子。?

Like, let's get more and more complicated. Let's just select like more texture brush. Suppose Like this. ?

P11 - 15:15選擇更多材質(zhì)刷子。?

It’s almost like a rocky texture.? It's like a Mars surface. Copy this guy. Stretch it. And all those guys did. It almost looks like the surface you would get next to the beaches.?

P11 - 15:53復(fù)制 拉伸，類似河邊沙礫。?

It's almost like feels like a wolf or something. So for example, let's say you just paint. Paint a crab over here. And now your brain will tell you that. that's actually very straightforward.?

P11 - 16:33比如可以繪制螃蟹。?

look at how many details It gives you and your brain just reads them. Very, very easily. And still. It's an open ended exercise because someone will see something different people will react differently to it. So let's just close this one. ?

P11 - 17:00不同人看到的不同。?

And having this on bevel and the numbers. It's very cool because you can trick lighting.? Now the light comes from the left hand side, all the light It's like a front lead texture. All the light is just coming straight from up. This could be like diffused, overcast scenario.?

P11 - 17:34光從下面打出來，漫射投影。?

Let's type like this. Don't say, let's just move on and try something else.?

P11 - 17:52嘗試一些新的。?

delete this one. The league this fall. Pick up something. That's probably not. it's good one actually. Change the color of it.?

P11 - 18:27繪制后調(diào)節(jié)顏色。?

That's actually a very nice one, because all you need to put. Just draw character over here.?

P11 - 18:57在這繪制角色。?

And now what this looks like. it's a very long lines, because the way the lines look and you start to have a really nice story.?

P11 - 19:56很長的線，很好的故事。?

This is a guy. This is in astronaut walking on the lonely planet. Something out there. Or maybe here. ?

P11 - 20:28一輪滿月在這。?

Pretty simple. And also you can see it's very graphical as well. That would make a very powerful because you don't know what this texture exactly is. But you like the graphic look of it.?

P11 - 21:07你不知道材質(zhì)但是喜歡這地貌。?

And if you like the graphic look of it. You can then take this to another level very easily because as a graphic designer, it's a powerful composition.?

P11 - 21:19圖像設(shè)置也是另一種合成。?

Liking the way they said it looks like this. now it's better. Let's do another one. And by the way, you will be having a file with all the textures and the experiments that I created.?

P11 - 21:48你有所有材質(zhì)和圖層的文件。?

You can just jump in and use any of those as you want. it's not like I want you to create the new ones. You definitely need to experiment with those. But there will be a lot of pre made stuff for you. So you guys can pick those up and just starting cool stuff.?

P11 - 22:08開始創(chuàng)新做實(shí)驗(yàn)。?

I don't know. Let's create something unusual. Look at this. So cool. it's almost? like very rocky? texture. Like the same trick.?

P11 - 23:04用同樣的技巧。?

So almost look like mountains. it's very different. I would encourage you to just whatever brush that you have. Literally big every one of those.?

P11 - 23:27嘗試用每一種刷子調(diào)大。?

And start like creating different things. Because every brush does something different.?

P11 - 23:33不同刷子作用不同。?

For example, this guy, oh, what is this? It's awesome because it's a bark texture. Let’s say copy this one. And let's just quickly create this simple composition.?

P11 - 23:49創(chuàng)建簡單的合成。?

It's about bark texture. But let's change that the lighting. That's a good one.?

P11 - 24:12改變亮度。?

Go over here to create a simple composition. Create a nice graphic design. And what we have. you have some trees, right? now we change the scale of them. Some of the trees, they become closer to camera. Some of them will be further way. ?

P11 - 25:45有些離著鏡頭近，有的遠(yuǎn)。?

Do you create your own story? Just make your own story, maybe a hunter. He will hang on to walking in the woods. Very simple. It's very suggestive. It just has everything you need. Did we use any photos? No. Did you use any like really complicated tools? No, just painting the simple limb bevel numbers effect. using that one, you can create so many stories, with so many prickly like imagine if you were doing this, the story of the hunter.?

P11 - 27:28樹林和獵人，沒用復(fù)雜工具。?

Just align it a little bit. It is very graphical.so like in my composition lesson, So which will be the next one. I will be showing you a lot of simple tools, tips, actually, and emphasizing how gravity design is important, because all you need in the very first second is a graphic design. And then your eyes will go and start picking up different details. But the first will always be a graphic designer.?

P11 - 28:05首先是繪圖設(shè)計(jì)的。?

And If you are a good graphic designer. You can do anything. So let's put it hat on top of it. Just making the mysterious character. This one is done as well. As I said. You will have a file with a lot of this texture experiments. Feel free to pick any of those, It's very simple. There's nothing else I can tell you about this. That created a layer, that bevel numbers was a just resolution and move your lighting angle, whatever your angle is, you will get different textures and increa.?

P11 - 29:23燈光 角度 材質(zhì) 深度。?

you can get some different ideas and also try these options as well like sometimes the chisel heart gives you really nice texture smooth sometimes is a good option. I mean he used chisel soft and also to experiment with these guys, then all older mobile outer mobile. below bevels will give you different one. feel free to experiment.?

P11 - 29:53自由測試幾種類型。?

but once you get a good texture, you will start just walking in. And we really quickly your brain will use this abstract way of thinking to create different pictures in your mind. And this is where the fun starts. So yeah, let's jump onto the next one.?

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1. Design Principles---4-1.Demonstration

P12 - 00:02?

?So I recorded for you. And overall all of these are those demo they start with me are looking for a really nice abstract texture.?

P12 - 00:12抽象繪畫的材質(zhì)。?

As I showed you in previous lessons, having this simple method of creating abstract textures using babble of both is very powerful. And the main reason why it's very powerful, which I mentioned a few times, is that it doesn't allow you to see a very exact shapes.?

P12 - 00:31這種方法不一定要看到全貌形狀。?

Like for example, it's so abstract that your mind could not judge how big this texture is.?

P12 - 00:36頭腦不能判斷有多大。?

Is it like a small scale texture or is it like a huge scale texture.?

P12 - 00:41小的還是大的材質(zhì)。?

So for example, in this one, when I started doing this, when I realized, OK, this looks pretty cool. And it could be like a side by side of a dune, all like Top of the mountain.?

P12 - 00:52像是山頂上的沙丘。?

But I'm still kind of searching for the right story and the right amount of details and scale.?

P12 - 00:58研究細(xì)節(jié)和大小具體細(xì)節(jié)。?

But that's where the beauty comes from, of using really abstract textures.?

P12 - 01:04美麗源自紋理材質(zhì)。?

Imagine where I would be if I was using the forward texture, then everything would be very defined.?

P12 - 01:11有些材質(zhì)事調(diào)整過的。?

And it will be really difficult for me to kind of change my mind in the middle of the story and try to readjust everything.?

P12 - 01:19很難改變故事中思維，重新調(diào)整。?

like you're saying right now, I'm kind of blocked out this mountain. And I'm just using a flat shapes to make a really simple shapes.?

P12 - 01:30二維平面塑造形狀。?

And in next lessons I will be showing how to construct a very simple composition is just using the flap forms and just several values.?

P12 - 01:39如何用2維平面塑造圖形。?

But for now I just want to forget about all the rules. I just want you to start experimenting, start putting things together, and trust me by using by simplifying stuff like getting really abstract. You can achieve a lot of things, you can do things that would never do,?

P12 - 01:58抽象概念可以描述很多故事。?

if you will constantly thinking about what you're doing. So right now I'm kind of seeing the story. I see this really big mountain.?

P12 - 02:08我看到故事和大山。?

And what I basically want to do is just put a really tiny dot, which will represent the guy on the Top of the mountain.?

P12 - 02:15小山丘代表山頂部。?

All I'm doing right now, I'm just readjusting the texture.?

P12 - 02:18現(xiàn)在重新調(diào)整材質(zhì)。?

And by doing those, I'm kind of starting to think about perspective and how the scale of texture should be become smaller and smaller as we go.?

P12 - 02:29視角和材質(zhì)大小變得越來越小。?

And that will help a lot to kind of show the scale of the scene.?

P12 - 02:36展示出場景大小。?

So this mountain is supposed to be really, really big.?

P12 - 02:38山本身看起來很大。?

And also at this point, I'm starting to think about lighting as well.?

P12 - 02:44開始考慮燈光。?

So everything what I'm doing right now. It just serves the story. I know that my focal point will be the real small tiny dot in the peak of the mountain.?

P12 - 02:58聚焦點(diǎn)是山頂?shù)纳角稹?

So what I will need to do and need to darken sides.? I need to make all textures to be guiding my eye towards this a small focal point that I have.?

P12 - 03:15視角線指引到聚焦點(diǎn)。?

now i created another texture because I felt like I need something for high frequency details.?

P12 - 03:23需要加入材質(zhì)展示細(xì)節(jié)。?

Because as we go towards the focal point, everything should get more contrast. Like even texture foreground is relatively soft and high scale.?

P12 - 03:37材質(zhì)前景是柔軟的大尺寸的。?

And as we move towards the focal point. I'm kind of introducing a lot of small details because I want to keep this rape.?

P12 - 03:45比如被破壞的細(xì)節(jié)想保留住。?

I want to keep level detail and contrast at the highest point as possible towards my focal point.?

P12 - 03:55聚焦點(diǎn)保留細(xì)節(jié)和對比度。?

And also easy because I'm stylize everything. I'm kind of changing the slope of the mountain.?

P12 - 04:05可以改變山的坡面。?

So I can give this really nice zigzag motion.?

P12 - 04:10可以改變Z型運(yùn)動(dòng)。?

As I move towards the focal point.?

P12 - 04:13朝聚焦點(diǎn)移動(dòng)。?

And in our next week, I will be showing different composition rules.?

P12 - 04:18接下來課程展示合成規(guī)則。?

And once again, like my overall philosophy is that the rules are really important.?

P12 - 04:24規(guī)則很重要。?

But you can simplify them so much.?

P12 - 04:27可以盡可能的簡化。?

Like, instead of being very complicated, like rule of thirds, put this here, put that here.?

P12 - 04:32三分法，放位置。?

I will be trying to simplify everything because the biggest thing that I can deliver to use my experience of doing these things and just summarizing the essential part for you.?

P12 - 04:48簡化并總結(jié)重點(diǎn)內(nèi)容。?

right now started refining the front part of mountain. In this one I used a different texture because I wanna break up those two surfaces and put one of the surfaces.?

P12 - 05:02打破兩個(gè)表面。 ?

I use the texture that I painted with a kind of similar brush. And for the front surface, I use much softer, like if you have a difficulty of painting, like for example, a mountain just take a look at the reference,?

P12 - 05:16畫山有問題就看參考。?

for example of snowy mountain, even though it's a kind of lunar surface. But still when you look at something like mountain even photos, it just looks so alien, type in like everest and find some really nice reference.?

P12 - 05:33外星地貌，或月球地表，找參考。?

Find some really nice abstract composition and try to recreate it,?

P12 - 05:40選擇參考，進(jìn)行重塑。?

but with your own idea. And also once again, you don't need to do for everything from scratch.?

P12 - 05:44并不需要一切從草圖開始。?

find a really nice reference. For example, it could be a small heel. It could be completely different subject. Find a good reference, which you like as a composition, and try to recreate it with your own idea and within your own world. ?

P12 - 06:03找到參考，融入到自己的風(fēng)格。?

And it's very important because without reference, you will be always repeating yourself and doing the same patterns during the same competitions all over again.?

P12 - 06:15同樣的合成重復(fù)同樣模式。?

That's why you need to learn how to learn from different other people as well. It's not like you're stealing their concept. Not at all. Because you can pick up a completely random composition which is having a completely different subject.?

P12 - 06:31博采眾長。他山之石可以攻玉。?

But you like it and you kind of replicating reusing it in your own purpose.?

P12 - 06:35復(fù)制迭代成自己的。?

I do it often and sometimes I do stuff from scratch.?

P12 - 06:40有時(shí)候也從草稿做起來。?

There is no golden rule. How much you should look for more reference. Like some people say, it's done from reference, I can do it. It's not that easy.?

P12 - 06:48沒有一成不變的準(zhǔn)則。?

like picking up a nice reference, finding really nice texture photo or form.?

P12 - 06:56找到照片上的材質(zhì)。?

It's not that easy. I mean, that's why keep going and select an easiest way which ever way will be easiest and most efficient to brought out the ideas.?

P12 - 07:10選擇越是簡單，靈感打印越流暢。?

Just go for it. And now as you can see, I'm almost done like I put different lights here and there.?

P12 - 07:16不同地點(diǎn)放置光源。?

And just made sure that as I move towards the focal point that I have a point of a high contrast as with textures, as with the light and the form as well.?

P12 - 07:30燈光 材質(zhì) 形狀 對比。?

And now it's kind of working. and it looks stylized, but it looks effective because I’m using the same textures.?

P12 - 07:40用材質(zhì)看起來有效 風(fēng)格化。?

I don't need to unify everything because I was using my abstract texture form of bevel layer. And all I'm doing is just refining few edges.?

P12 - 07:52調(diào)整一些邊緣。?

Like if you want to really make big problems in terms of painting nature. Just go and observe it.?

P12 - 08:04繪制自然學(xué)會觀察自然。?

Like for example, if you open up a simple rock, you will realize how much variety, how much design work is already there.?

P12 - 08:10巖石多樣性要設(shè)計(jì)出來。?

And that's the best kind of teacher. Nature would be the best teacher for you.?

P12 - 08:15自然是最好的老師。?

You can learn a variety and learn any design rule possible, just by observing nature. ?P12 - 08:23通過觀察自然學(xué)習(xí)多樣設(shè)計(jì)規(guī)則。?

And right now I'm just letting any lines facts. Let’s clarify when it comes to lens flare. It’s not just go cinematic, actually lens flare is very powerful tool to kind of establish the depth.?

P12 - 08:38鏡頭光暈創(chuàng)建深度的。?

Because you realize that this it gives you additional atmosphere as well. And just by adding a simple noise,?

P12 - 08:44加入簡單分型雜色。?

I'm kind of finalizing this picture. And as you can see, it becomes a part of my story.?